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In "The Bill," Laszlo Krasznahorkai's madly lucid voice pours forth
in a single, vertiginous, eleven-page sentence addressing Palma
Vecchio, a sixteenth-century Venetian painter. Peering out from the
pages are Vecchio's voluptuous, bare-breasted blondes, a succession
of models transformed on the canvas into portraits of apprehensive
sexuality. Alongside these women, the writer that Susan Sontag
called "the Hungarian master of apocalypse" interrogates Vecchio's
gift: Why does he do it? How does he do it? And why are these
models so afraid of him even though he, unlike most of his
contemporaries, never touches them? The text engages with the art,
asking questions only the paintings can answer.
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